 Fuensanta la Moneta “Extremo Jondo”
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Text: Estela Zatania It’s the final stretch of the 2012 Festival de Jerez, the good weather has held and small businesses have taken advantage of the moment with shows, both programmed and improvised, some in the open air. Today, among other things, on Francos street in the heart of downtown, a young Basque singer with his Basque guitarist and two others on palmas also from the Basque country, offered a recital of traditional cante. Various activities have also been held at the numerous peñas, or flamenco clubs, you see polkadot dress and embroidered shawls in the shop windows and there’s a flamenco feeling throughout the city. A LAIDBACK GUITARIST AND A TEMPERAMENTAL DANCER ANTONIO REY The career of this young man from Jerez has the guarantee of important prizes such as the Bordón of the Festival de la Unión in 2003, first prize of the Jerez Guitar Contest in 2004 and that of the most recent edition of the Córdoba contest in 2010. Antonio Rey has a name among flamenco followers. He began his recital nonchalantly with wispy bits of undefined melodies which then took on a bit more body until finally the characteristic glissando confirmed the granaína intent, and a couple of lightning-fast picado runs revealed the high technical level. Antonio Rey belongs to the generation of guitarists who devour guitars for breakfast.
The taranta he played next, with the same mixture of sweetness and virtuosity, is the form that earned him first prize at La Unión nine years ago. A third piece, equally lyrical, makes you start wanting to hear something rhythmic, and that wish is granted with the upbeat alegrías composition with percussion that follows. A second guitar joins the group, the cajón is exchanged for a pandero, and Antonio’s sister Mara Rey sings a modern song…lots of odds and ends for what was to have been an acoustic guitar recital. And still another singer… Rey presented Mateo Soleá as “one of the few old-timers we still have in Jerez”, and the beloved owner of one of the most popular points of encounter for the flamencos of Santiago, offered his moving siguiriyas. Another piece was interpreted by two guitars, and the recital ended with a pop tango, more pop than tango, which the guitarist pointed out was from his last recording.
FUENSANTA LA MONETA “Extremo Jondo” Dance: Fuensanta “La Moneta”. Cante: Miguel Lavi. Guitar: Luis Mariano. Percussion: Miguel “El Cheyenne”. On Wednesday night at the Villamarta theater, Manuel Liñán had ably defended his hometown of Granada, and Fuensanta la Moneta, from the same city, offered the first of two programmed performances of her most recent work, “Extremo Jondo”. Current economic austerity continues to bear succulent fruit such as this pared-down work, with no decoration other than Fuensanta’s temperamental dancing, diametrically opposed to the coldness others cultivate in their efforts to be sophisticated.
“Extremo Jondo” is the classic flamenco dance show of a dancer who is equally classic, and who today is the youngest star of this genre to follow a traditional line. The show is an authentic tour de force in which Moneta hardly leaves the stage, churning out dance after dance with the characteristic Sacromonte energy that has been the hallmark of her personality since the beginning. The first dance is a caña danced with a shawl that Moneta dominates to perfection. Miguel Lavi, a young singer who is quickly becoming known among flamenco fans, does a fine job throughout the work, and Granada guitarist Luis Mariano knows exactly how to adapt and enhance every moment of the show. For cantiñas, Moneta goes retro…whether it’s Carmen Amaya or the caves of Sacromonte…to bring it to her own turf and construct her own modern landscape. A set of abandolao includes rondeñas, jabera and Frasquito Yerbabuena – Granada people work miracles with these forms. And tangos, another noteworthy specialty of this part of the flamenco territory, includes segments of free-form compás. Just a few days ago Lavi gave a fine cante recital on his own at the Palacio Villavicencio, and now, with martinete, he reminds us of his roots in the San Miguel neighborhood, well-known for this form. Bulerías is presented as a dance with a personality of its own, incorporating Cádiz styles, short bulerías and cuplé, at varying speeds – Lavi makes it all compatible and danceable. Also, liviana and serrana, lots of dancing, and Moneta just doesn’t run out of steam…and then tientos finished off with tangos of Granada and Triana. Granada left its mark on this year’s Festival de Jerez, Málaga also made a fine showing and the most representative event of flamenco and Spanish dance worldwide continues to grow in stature. |
